Which Stitch Markers Are Best

When I first took up crochet I didn't have any stitch markers, I didn't even know stitch markers existed. It wasn't long before I knew about them and I learnt the value of using stitch markers, aka stitch savers. That first frustrating experience of when a project accidentally unravels because there's nothing holding onto the stitch to stop it coming undone or your crochet circle grows in ways it isn't supposed to and the worth of this tiny tool became obvious very quickly. But there are so many styles of stitch marker to choose from, locking, circle, coil-less, plastic, safety pins, thread, 3D printed... does it really make a difference which one you use? Is it just how pretty they are? I walk you through a dozen different stitch markers from items you have lying around your home to the fancy artisan styles. I share with you what features to look for and those that don't really hold up to the task.

Cuera and Saya - Nib fronted bodice and skirt

My current costume project is inspired by Pflazagrafin Dorothea Maria Von Sulzbach's gown c1639 as seen in 'Patterns of Fashion The cut and construction of clothes for men and women c1560-1620' by Janet Arnold (PoF).  The gown is housed at the Bayerisches Nationalmuseum, Munich.

Pflazagrafin Dorothea Maria Von Sulzbach's gown c1639  image 340 PoF pg. 48  The gown is housed at the Bayerisches Nationalmuseum, Munich.

'Tailors Pattern Book 1589' by Juan De Alcega translated to English by Jean Pain & Cecilia Bainton (Alcega) has patterns that are very similar to this gown.  In the Main Notes which can be found at the rear of the book an explanation is given about the difference between a 'Cuera' (main note 36) and 'Sayuelo' (main note 38). Although the cut is basically the same, the 'curea' is an inner garment and the 'sayeulo' is an outer garment. Patterns for 'cuera' also include 'saya', an open fronted petticoat.

Janet Arnold (JA) notes that 'the centre front appears to have been open originally but is now stitched down', which is in keeping with Alcega's curea and saya patterns. JA states that 'Like most elderly people Dorothea Maria probably continued to wear styles which she had worn in middle age and in which she felt comfortable.' This time frame would mean that Dorothea Maria was 30 when Alcega published his pattern book.

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